If someone were to ask me how old I was when I first got into Hot Water Music, I would tell you I have no idea because it feels like they have been with me for most of my life. The amount of times that band hits my ears is likely excessive, but if you are a fan, you totally understand why.
I was slightly thrown back when I learned earlier this year, they were playing Cleveland in celebration of being a band for 30 years. Three freaking decades of being one of the most prolific punk bands out there. Wild.
To make things even more amazing with their anniversary tour, they announced special guests Tim Barry and Quicksand would be playing Cleveland. There was no way in hell I was going to miss that. Thanks to an old pal, I even was able to snag a photo pass to make it even more memorable by capturing the night.
Seeing Hot Water Music, Quicksand, and Tim Barry on a Friday night in downtown Cleveland was the best way to start the weekend. Outside there were boomers rocking their Rolling Stones shirts a night early to the show they probably spent more than they should have and just tons of other people were enjoying their evening with food and music on Euclid and around E. 4th.
I can tell you through that they all missed out on the best time inside good ol’ House of Blues. The best part was that it was not overcrowded and there were people of all ages in attendance. Worst part was that there was one dude doing merch for all three bands – nice dude, but come on, nothing beats not waiting in line. Back in my day we cut people to get our merch because we had the cash ready… Ok, I am done being grandpa punk.
Tim Barry started the night off to a slew of adoring fans. Armed with his trusty guitar, he came out and did what he does best. I loved that he played “Dog Bumped” with fans singing along, but the best was “Fine Foods Market” when everyone shouting appropriately how fine they were. Storytelling folk punk rock doesn’t get much more entertaining than Barry. He had a great span of tracks from his solo career, but I personally would have loved to have heard more.
Did I wish I was seeing Avail? Well yes, but seeing Barry live is one of my favorite things as I adore this dude.
Now I have been a fan of Quicksand for a long time now, but never had the chance to see them play. Seeing them rip through songs like “Omission”, “Inversion” and “Brown Gargantuan” had me in pure awe. They sounded amazing and, for a brief moment while I was in the photo pit, I just stood there and stared almost forgetting what I was supposed to be doing there for the first three songs.
I love how happy Walter Schreifels and Sergio Vega were on stage. They were just getting into their songs and eating up the crowd’s reaction. They were certainly well-received by almost everyone there.
Walter, Alan, and Sergio had no problem delivering one hell of a set. I hope some of the younger generation at that venue who may had never heard of this post-hardcore band went home and did their homework. My only complaint is I wished they were able to play a proper set. I understand they were a special guest so their time was limited, but come on, it is freaking Quicksand. Hopefully they will come back again soon.
Chuck Ragan and the rest of Hot Water Music took stage just around 10p kicking things off with “Menace”, a new track off their latest release with Chris Cresswell helping with strong vocals.
I about lost my shit when they moved into “Remedy”, perhaps my all-time favorite Hot Water Music track. Once again, I may have froze in that photo pit for a moment as the 25-yeal-old me was freaking the hell out. Needless to say, I was loving every moment of that track.
One cool part of the night was when Ragan paused and offered thanks not only to his band and stagehands but also to the entire venue crediting it not possible to have lasted this long in the business without their help.
The band played “After the Impossible” after admitting they had not played it live yet. They all took a moment to look at one another and just tore into it. I am not sure about the rest of the folk in the house, but it sounded good.
A memorable part of the evening was when Ragan started talking about reaching out for help if you are in a dark place and admitted when he wrote the song he was about to play that he was in a very bad state of mind. He encouraged people to talk about it and not hold it in. Moments later he broke into “Drag My Boy” and I got chills.
I was thrilled they played “Trusty Chords” but it was their last song that just turned a great evening, into the perfect evening.
As they were thanking everyone for coming out, a stagehand ran out with a mic stand and picked up the mic that was on the ground. They broke into “Simple Song” with Tim Barry. I am fairly certain everyone in attendance sang along. I cannot tell you how thrilled I was to hear Barry sing that Avail song. Looked like I got some of that wish that I wanted.
No lie, this was one of the best nights of music I have had in a while. Three of my favorite bands playing their hearts out. It does not get much better than that.
Here are a few photos I was able to take. I love I get to do this. Enjoy.
This review may have taken a minute to complete, mostly because of life, but also because of the high I was on from such a killer weekend of music and friends.
When I think of the band NOFX, I have so many countless memories, like seriously, it is probably unhealthy how much this band means to me.
I recall the first time my friend Mike put on “Linoleum” for me when we were teens. I fell in love almost instantly with them and have not stopped listening since. I have all of their albums, tons of their 7″s, plenty of ticket stubs, and a slew of merch including a 90s red bucket hat that is bleached from the sun and doesn’t even fit on my fat head.
I first saw them in 1996 at Warped Tour in Cleveland that was under the Valley View bridge at Cloverleaf, a former racetrack turned flea market on a gravel lot. Two years later they played with Hi-Standard and the Bouncing Souls at the Agora where after the show they asked me to take them to the local nudie bars, but my pals with me were underage so they moved on to the next bunch of fans and off they went.
Just like everyone else out there who appreciates this punk rock foursome, I was legit bummed out when they announced NOFX was going on one last tour.
Of course they wanted to finish up touring in style:
40 Years, 40 Cities, 40 Songs
They announced their final tour would be presented by Fat Wreck Chords Punk In Drublic and that they would be bring plenty of supporting acts with them. I about fell out of my chair when I saw the Columbus lineup and knew I had to be there:
June 24th
Bad Cop Bad Cop Codefendants Adolescents Strung Out Less Than Jake Circle Jerks
June 25th
The Last Gang Mustard Plug Get Dead Suicide Machines The Bouncing Souls Descendents
The added bonus was two nights of NOFX playing five of their albums in their entirety in addition to an entire set.
The albums they picked for Columbus were:
Punk in Drublic Wolves in Wolves Clothing White Trash, Two Heebs, and a Bean So Long and Thanks for all the Shoes The Decline
It is worth noting that the band was actually supposed to play Self/Entitled originally, but Smelly learned the wrong album so they just decided to go with it.
There was no way I was missing this weekend, and I did not. I lucked out and was able to join some of my pals who opted out of camping in favor of an AirBnB and, at my age, I was totally ok with that. What was even cooler is that I secured a photo pass and came out of retirement in a sense to shoot the set. Saying I was stoked was an understatement.
Legend Valley is actually about 30 minutes east of Columbus and is a stage, some gravel, and a hill of grass. It is like a bare bones Blossom Music Center and I was completely fine with this. It reminded me of Cloverleaf, that flea market grounds I first saw NOFX at.
Each day for the first three hours, breweries from all over handed out “10” samples of their hoppy goodness. The quotes are because it was more like unlimited. I am not a drinker anymore so cannot tell you what was the best out of them all, but my pals all were feeling pretty good by late afternoon before even buying their first over-priced can of alcohol.
Aside from the brewery tents, there was merch galore by Fat Wreck, Smart Punk, and others. There were a few food trucks too closer to the stage. Punk Rock Saves Lives was doing their thing and Dylan Flynn from Pass the Bass had a tent where he was raising money for the Brain Injury Association of America (BIAA) by taking donations and selling merch.
As an added bonus, Jared Gaines was selling his punk inspired flash on prints, pins and shirts. He even drew up limited edition flash specifically for the Ohio Punk in Drublic show:
Come 2pm, the bands started playing every hour on the hour. They played mostly 30-minute sets each to give enough time for the next band to get set up and have sound check.
Bad Cop Bad Cop started the festival off. This all-female band played as if they were head-lining the weekend and people were just eating it up. Linh Le’s energy was indescribable during their set. It should be noted that throughout the entire weekend, she and Stacy Dee could be seen on the sides of the stage singing loud and proud. I loved seeing this support for the touring bands as well as just two women living the moment just like all of the other thousands of fans in attendance.
Codefendants were the one act I really wanted to see, and I am glad I was able to. This punk/rap hybrid may not have fit the bill compared to the other acts, but they delivered and were just amazing to watch. Dee from Bad Cop Bad Cop came out to sing her verses in “Disaster Scenes” which honestly I was hoping for. Sadly, The D.O.C. did not join them on stage during “Fast Ones,” but goddamn that song sounded amazing live. I was overly impressed with their set and have the feeling the won over a ton of new fans.
Seeing the Adolescents live just incredible. Tony Reflex rocked a large black mask that covered his face and he tore through their set as if it wasn’t even there. I think the one thing that hit me while watching them was knowing that Steve Soto passed just around this time of the year in 2018. Hearing “Welcome to Reality” and “Amoeba” was an added treat.
Strung Out was entertaining as hell and they flew though some great tracks without slowing down one bit. Opening up with “Too Close to See” just started off their set with plenty of momentum. I was stoked to hear “Daggers” as well as “Bring Out Your Dead.”
Less Than Jake never disappoints. I absolutely adore this band and I was not the only one. Everyone was having a good time to this band, singing along to tracks like “Lie to Me”, “Look What Happened”, and All My Best Friends are Metalheads.” I lost my mind and sang as loud as I could when they played “The Science of Selling Yourself Short.”
The Circle Jerks had a bit of a longer set as they were the last band prior to NOFX taking stage. Keith Morris took some of this time just to chat it up with the crowd. Some of me wishes they played more songs, but at least I can say I got to hear “Wild in the Streets” and the version “When the Shit Hits the Fan” which may have been the best thing to happen day one to this aging punk rocker.
NOFX took the stage and Fat Mike admitted he was slightly under the weather and on some antibiotics but did not let that slow him down at all. I have to admit, they did it right by not playing the albums they planned to cover from start to finish. By mixing up the tracks from Punk in Drublic as well as Wolves in Wolves Clothing, this was more than night one of their last show, it was a straight up blowout.
They played so many great songs, but I was most stoked to hear “Theme from a NOFX Album”, “Don’t Call Me White” and obviously “Linoleum.” Hearing “Doornails” with Lee playing acoustic guitar was incredibly poignant. I was with my pals for most of the set and can honestly say I was in the best company possible. They took one break, caused many laughs, and did exactly what they said they were going to do by playing 40 songs.
Having made it to the end of the night, we opted to skip the Melvinator after show DJ set in lieu of heading back to the house we were staying at, but we screwed up and sat in a van in a field for likely the entire performance. At least there was A/C in there… I am kicking myself for missing that one as I heard it was a good time.
Day one was just what I was hoping for. I got to see tons of bands I appreciate and did so with pals I have known for almost 20 years. The crowd was awesome all around too and everyone really seemed to be enjoying themselves. I had thought I would see more drunken debauchery around the grounds, but maybe I was not looking hard enough. I also learned that a certain minivan had a kick to it and may have done an accidental burnout in front of a cop on the way out…
Day two came up quick and literally flew by. My pals went for the beer tents as soon as we arrived and I went for the merch booths and stood my ground preparing to take more shots of the bands.
I just have to add that out of all the shows I have shot in my life, this was the first show/fest that I buddied up with other photographers. If you guys are reading this, thanks for being rad and I enjoyed covering this weekend with y’all.
Ok, back to what most of you likely care about…
The Last Gang stsrted off the second day and completely won me over. I admit I sat on this ska punk band for years now, and that ended on a Sunday afternoon in Columbus. Brenna Red and crew played hard and promised the crowd they would come out and sign things after the set. I can confirm they did this for some super excited fans. Their set was just awesome and almost matched that Bad Cop Bad Cop-day-getting-started kind of energy. Their cover of “Guns of Brixton” was well received by many in the crowd as well as some of their originals like “Gimme Action” and “Noise Noise Noise.”
Mustard Plug literally pulled in a good crowd and as soon as ” Not Enough” started, the place went crazy. I am not sure security was ready for that one so early in the day. The energy these guys had was just outstanding and you could tell they were enjoying the response from the crowd. At one point they played their version of “Waiting Room,” and naturally everyone sing along. Their set was from start to finish just perfect and hearing “Aye Aye Aye” as well as “On and On” just ruled.
Get Dead was another band I was really excited to see. They played a great set full of old and new tracks including “Hard Times” and “Stickup.” Seeing them pull off “Abscessed” was just incredible. I loved that they also played “Fuck You” and I was not the only one as everyone joined in on singing duties.
The Suicide Machines had the place going crazy the moment they tore into “Islands.” Jason Navarro admitted he too was partaking in the fun and was feeling good. I swear, he spent more time against the crowd letting them take turns singing than on stage. Aside from a slew of tracks, “Break the Glass” and “New Girl” were sung loud and proudly by yours truly, along with thousands of other fans. I loved the moment when he gave a shoutout to my dudes in the Toledo punk band, Shitty Neighbors.
The Bouncing Souls certainly had plenty of fans and one of them even had a gift for them. It was a small toilet with “TOILET SONG” written on it. It made its way to the stage and Bryan was happy to hold it up, but the band admitted it was not on their set. No one really cared because they played plenty of old and new tracks for all to suck in. “The Gold Song”, “Sing Along Forever” and “Hopeless Romantic” were the tracks I enjoyed the most. I honestly wish they took the stage longer and I know I was not the only one.
The one band I was most stoked to see play was the Descendents and they sounded perfect. They nailed every song and played a hell of a set. I loved hearing “Everything Sux”, “Silly Girl”, “Clean Sheets”, “.Merican”….I should stop here right? No way, not this time. They also played “I Don’t Want to Grow Up”, “I’m the One”, “Bikage” and even “Weinerschnitzel.” It was just freaking perfect.
So something happened to me before NOFX took stage that sadly I will never forget. I was catching up with one of the other photographers up my the merch tents and an inebriated, young man approached us and spotted our VIP tags and cameras. He asked us if we could get him backstage to which we explained to him this VIP was not really all access, but more of an opportunity to use a bathroom with AC. He put his hand on my shoulder and asked me if I could help him grant his dying wish. I told him it really depended on the ask and he told me he had cancer and wanted me to get his bracelet to Fat Mike in hopes Fat Mike would yell at him. I told him I was not sure I could commit to that and encouraged him to try and just get close and give it his all. I am not sure the truth behind the interaction, but I really hope the best for that young man.
NOFX took the stage likely for the last time in Ohio before the sunset. Just before this happened, the band, along with many performers over the weekend took a moment to do a celebratory shot behind Smelly’s drumkit. It was seriously bittersweet to see this moment. They came out son after just as they did 24 hours ago dancing to the “Time Warp Dance.”
Once again, they blasted through songs off the albums they promised to play in their entirety: So Long and Thanks for all the Shoes and White Trash, Two H–bs, and a Bean and well as tossed in some others including their cover of Rancid’s “Radio” and even “Can’t Get the Stink Out.”
I enjoyed their second set slightly more than the previous night’s. Mostly this was due in part to finally seeing NOFX play “The Decline.” For years when I would see them play shows since the song came out, they would tease it, but they never committed. I was happy and sad as they played this punk rock opus. In fact, at the very end, I was overcome with emotions, and I know I was not the only one. If this band never plays Ohio again, at least the last song I got to hear was the one I have been hoping they would play for me for years.
For two nights, NOFX played my favorite albums in their catalog and more. I was in great company and could not have had a better time. They brought on so much talent with them to make the festival even more special. I left that Sunday night on a high I have not felt in a long time. It was an incredible sendoff for a band I have been listening to for 30+ years.
As my friends and I left, I could not help but to think to myself how lucky I was to have been able to make this one. Fatherhood has changed life for me over the years in the best ways, and I was not sure I was going to be able to make this one work let alone cover it, but there I was, leaving Legend Valley with my pals about to do one more burnout in the mini-van just to get some last laughs by everyone with me.
Sometimes a band from your past does the ultimate awesome and puts out new material 14 years after their last release. Chicago’s Bollweevils surprised many, including myself, and dropped an incredible album called Essential on the possible world-famous Red Scare Industires records.
The album title is a strong nod to the actual professions of the members of the band. No lie, aside from Dr. Daryl Wilson (yes, a real doctor who saves lives), there are first responders and educators who make up the Bollweevils.
This band has always resonated with me well because they had a few albums on Dr. Strange Records back in the 90s which I listened to frequently. They called quits in 1996 and came back into the scene around 2006 when they played Riot Fest but kept a low profile and clearly took the time they needed to get back at it without missing a beat.
“Predisposition” kicked things out as if the band never stopped. What a powerhouse of an opener. Wilson and crew sound better than ever and I hate to say this, but I was pleasantly surprised about this. Like I should have even carried that thought.
Following up was “Galt’s Gulch”, a well put together track similarities gravitating towards an Ayn Rand novel. The fact they repeat “who’s John Galt”, which in the novel was about the sad current state of affairs much like today. “Atlas Shrugged” is the book I speak of, and if you ever read it, you’ll understand more.
One of my favorites on this album was “The Cutting Solution”. This track was well supplied with some insane drumming that just kept the energy high. Wilson’s singing was just so on point here.
“Theme” was just that. If the Bollweevils had their own show like the Aquabats do, this would certainly be the song that played at the start. Certainly, this a tongue and cheek track, but goddamn this was so fun.
Then there was “Bottomless Pit”, another banger. The entire band came together so well on this one. Fast and to the point, it was exactly what I would expect from these guys.
The track that just won me over was “Resistance.” In true punk fashion, this track had me wanting to memorize the lyrics so I could play it over and over while singing along. Loved the breakdown as well as the group vocals. It was not a complicated song yet got the job done.
“Liniment and Tonic” should be the old punker anthem moving forward. All the old punkers who are reading this with their arms crossed in the back, this one is for you. Enjoy.
The Bollweevils are timeless in my book. They have definitely put in their time years ago and Essentials has no indication of a break ever with their sound. They are still energetic and catchy as ever. Fair warning though, this album clocks in at just over 22 minutes. I assure you there is no lull in this release and there are plenty of playback opportunities.
As I find myself closer to 50 these days (punk is dad), it is beyond refreshing to hear a band from your teenage years still killing it. In a day and age when most punk rock does not even rest on the edge of the genre, it’s the punk rock veterans who continue to remind me why I adore this kind of music.
Available on CD and LP, the album is out there for you to obsess over. Do not sit on this one. Trust me.
20th Anniversary Reissue of Here’s to Shutting Up now available at mergerecords.com/store
Growing up in Canton, Ohio in the pre-internet 1990’s wasn’t exactly a bustling hub of counter-culture for a young kid. Sure, I had cool parents and an older brother who passed down the foundations of my musical interests- The Ramones, The Replacements, Dead Milkmen, and so on- but I had yet to find “my thing”.
Then, I found Beavis and Butthead. Suddenly the world opened up in front of me. Archers of Loaf, Seaweed, and Sonic Youth all hit me like a ton of bricks. All of these bands were rooted in the world that I knew, but they were decidedly original and a bit more unpredictable. I was hooked. Superchunk’s song and video for Package Thief was what rattled me, though. It was my lightbulb moment for what I wanted out of music- frantic energy, bright fuzzy chords, catchy melodies, and weird lyrics. I knew instantly that they were my band.
They became a frequent presence on my annual Christmas lists, but I don’t think their records were the easiest to find where I lived. I wouldn’t really find “my band” until 2004 or so, when I walked into what was then known as The Record Exchange in Canton and bought almost their entire discography in one go- minus Here’s Where the Strings Come In and Indoor Living.
It wasn’t an entirely joyous outing, though- even though I loved every album I picked up. On The Mouth was everything I hoped for after being hooked by Package Thief. Foolish was a classic that laid a blueprint that younger bands had followed for the last decade. Come Pick Me Up was off-the-wall and intoxicating. And then there was Here’s to Shutting Up– slower, somber, and ominously titled. Based on its name, I assumed the worst about the band’s fate- and their lack of internet presence in that era all but confirmed it for me. Scattershot shows would pop up in major markets once or twice a year, and front man Mac McCaughan would pop in on the now-defunct Superchunk/Merge message boards from time to time but it seemed like the title of their 2001 full-length said it all. I missed the window of my favorite band’s full-time existence.
Fast-forward just a few years after that and the band would thankfully reemerge, comfortably settled into their classic sound, more frequently releasing music and heading back out for brief clusters of shows. But the interim time would also reveal that even though the title of the record was unintentional, or subconscious at worst, the writing was on the wall for Superchunk as they were in 2001. It was a tough time for the band in 2001- the indie rock scene favored up-and-coming bands rather than those who had been at it for a decade-plus. Superchunk was caught in the middle of a fanbase that didn’t particularly want them to change their formula and critics who would drag them for staying the same. On top of that- thanks to inner turmoil and exhaustive tours with a steep decline in attendance post-9/11, the band did ultimately shut up for nine years or so. (To hear it from the band in their own words, check out the book Our Noise: The Story of Merge Records, and the Peyton Reed-directed documentary DVD Crowding Up Your Visual Field)
Twenty years later, Here’s to Shutting Up has been rereleased along with a CD of acoustic demos from the writing sessions. It’s a record that went largely unheard at the time of it’s release due to unavoidable bad timing- the album came out on September 18th, 2001- along with a refrain in the pedal-steel guitar-led acoustic ballad Phone Sex that includes the lyrics “Plane crash footage on TV- I know that could be me.” Unfortunate timing and coincidences aside, it’s a beautiful, haunting record that finds Superchunk engaging in some of their most ambitous songwriting- from the eerie, meandering What Do You Look Forward To, to the more-upbeat entries such as Art Class (Song for Yayoi Kusama) and Rainy Streets– the album is more than worth a look back or an introduction if you missed it the first time around.
Last week, I caught up with drummer Jon Wurster via email to see how he feels looking back at the album:
JU: Here’s to Shutting Up caps off a trio of Superchunk’s most experimental records. Do you recall any discussions the band was having leading up to the writing of this record? Any interesting stories worth sharing from the writing/demo sessions at your house?
JW: This whole conversation is tough because this is the Superchunk album I have the most difficult relationship with. I honestly can’t recall the names of most of the songs on the album and we only play one of them live at this point (“Art Class”). We worked very diligently for months on “HTSU” in Jim’s garage. I still have the snare drum head I used for the rehearsals/writing and it’s got about 30 funny working titles for the songs, like, “There’s Something About Marvin” and “New Asics” (I’d just bought a pair) scrawled on it. Just speaking for myself, I didn’t really love the direction we were going for this record.
We were really good at the punky, catchy, slightly weird music we’d been doing for over ten years and it was only natural that we branch out and try new things. I just didn’t feel like we were particularly suited for the Yo La Tengo-inspired music we were coming up with for HTSU. I WILL say that it’s one of our best-sounding records. I’d finally gotten a snare drum I liked (a Ludwig Black Beauty) and used it on that and just about everything I’ve played on since. So, sonically, I think it’s really good.
JU: Was there ever any talk or possibility of working with Jim O’Rourke again after Come Pick Me Up? I’ve always been a big fan of the string and horn arrangements he brought to that record. I could be wrong, but I feel like the production on that record isn’t given its due.
JW: CPMU is difficult too. I thought the songs were really good but we lost it in the mix. The drums are too buried for my tastes on “Indoor Living” and CPMU in particular. Jim was so much fun to work with, but I don’t think he was really a drum guy. We had to overdub cymbals on a few songs because they weren’t really mic’d for some of the basic tracks. He wrote the horn arrangements and did a fantastic job all around. The problem was he was running on fumes and going home each night to finish work on another record he was producing. He was really burning the candle at both ends, not with substances, just work and lack of sleep. But Jim was really great to work with.
JU: It’s pretty well documented that 2000-2002 was a stressful time for the band- and many touring bands in the wake of 9/11. Did any of those circumstances alter your opinion of the album at the time?
JW: That was such a difficult time. I’m really painting an uplifting picture of the band in the late-’90s and early 2000s, aren’t I? The record was released on September 18th and we immediately hit the road, going to Japan, Europe and then doing a full US tour. Attendances were down, I didn’t feel like the new songs were connecting with people, I didn’t really enjoy playing them, and it felt like other bands were passing us by. Like, we’d hit the glass ceiling. I just wasn’t excited about Superchunk anymore. The final show of the HTSU tour was at the Black Cat in D.C. and I remember thinking that was the end of the line for me.
JU: How do you feel looking back on it now?
JW: I honestly never think about HTSU. That said, I was in a coffee shop in NYC about four years after it came out and one of the songs from it came on the in-house playlist. I knew it was us but I didn’t recognize the song. I thought, “wow, this sounds really good, surprisingly tight for us.” Then I realized it was the last song we recorded for the album and the only one where we played to a click track: “Out On The Wing.”
JU: Brian Paulson co-produced Here’s to Shutting Up with the band. This is the first (maybe only, as far as I can tell?) time you used the same producer for a full-length record since 1994’s Foolish. What went into that decision?
JW: I honestly don’t recall. We were still very friendly with Brian and we’d see him all the time because he also lived in Chapel Hill. I think it just felt right.
JU: Art Class has remained a steady presence in live sets ever since the album’s release. Revisiting it now, and barring any logistical/additional personnel challenges, are there any songs from HTSU you think would be fun to bring back into live rotation?
JW: One song we recorded for HTSU that I really liked, but didn’t make it on the album is “Becoming a Speck.” I think that song would have given the album a little more of what we were really good at, but someone must’ve decided it didn’t fit. It’s on the “Cup of Sand” comp. That would be a fun one to play, as would “Rainy Streets.” I’m now looking at the track listing and remembering that we ended the shows with “What Do You Look Forward To” and “Drool Collection.” Let’s just say I didn’t look forward to playing those songs every night.
JU: Here’s to Shutting Up holds the distinction of having some of Superchunk’s longest songs- namely with What Do You Look Forward To? coming in at 7:42. Was it strange to play outside of (generally speaking) standard pop-rock parameters Superchunk had typically held to or did it feel like a natural progression for everyone?
JW: To me it felt a little false. Maybe not false, because we WANTED to play this new music well, but to my ears it sounds like us trying to be another band, specifically Yo La Tengo. I don’t want to hear a seven-minute song by anyone, so, as I said above, that particular tune was not a favorite to play.
JU: Since the band got back into semi-regular output in the 2010’s, the sound has returned to what some would say is Superchunk’s more traditional hyper-energetic output (What a Time to Be Alive is arguably the band’s hardest-hitting record at times), give or take a few slower numbers. Are there ever any band discussions about revisiting any of the more experimental, long-form ideas from this era, or do you think those concepts are mostly content to live on in the bands’ various other projects?
JW: I think we got the “writing as a band” thing out of our system. Sometimes that yields some great results, but often you end up with music that’s a little unfocused. The first four or five albums were pretty much written by Mac. We’d all throw our two cents in but he pretty much wrote the songs. He was incredibly generous to make the publishing a four-way split. “Indoor Living,” “Come Pick Me Up” and “HTSU” were all written, musically, by committee and Mac would go off and write the lyrics. There’s a lot of good stuff on those records, for sure, but since we regrouped, it’s gone back to Mac writing and doing rough demos of the songs and then presenting them to us. I really like it this way because the songs just sound more focused and concise. He’s written so many great songs for these last few albums.
JU I recently saw an interview with Mac where he discussed the band working on an album during quarantine, written and recorded remotely. Are you able to give any details on the process behind that or any upcoming plans?
JW: Not yet 😉
JU: Finally- followers of your Instagram account are treated to regular doses of Rock ‘n Roll Weirdness. Outside of the band supposedly surviving largely off of Long John Silver’s, do you have any tales of Rock ‘n Roll Weirdness to share as relates to the writing/recording/release of Here’s to Shutting Up?
JW: The only thing that comes to mind is that there was nowhere to sit in the studio! I don’t know why that was. There WAS a row of very uncomfortable wooden seats from a classroom or something, but nobody wanted to sit on them. Maybe we should’ve called it “Here’s to Standing Up.”
Superchunk, from left to right: Jon Wurster, Mac McCaughan, Jim Wilbur, and Laura Ballance
Not trying to prove my age here folks, but I have been a fan of Operation Ivy and Rancid for a good 25 years now.
Needless to say when I heard that Matt Freeman had a new project on Pirates Press Records, I had to stop what I was doing to check it out.
Freeman has been in so many punk rock bands since the late 80s aside from Rancid including MDC, Dancehall Crashers, Auntie Christ, and of course Devil’s Brigade. He even filled in for Social D for a bit. His bass playing is undeniably amazing and his deep, raspy singing style is unforgettable.
Having known his history, I figured Charger would follow suit, but I was so wrong and beyond blown away at what I heard. Sure, there was a Hellcat feel, but smashed up against pure hard rock a la Mötorhead and Black Sabbath.
I shouldn’t just speak of Freeman as two other talented-ass musicians put their heart and sound into the self-titled Charger EP. Andrew McGee plays guitar and then there’s Jason Willer on drums and vocals. He’s from Jello Biafra’s Guantanamo School of Medicine and some other band called U.K. Subs.
“Crackdown” started with the bass playing I have grown so fond of along side some serious guitar playing. The moment Freeman took the mic, I knew this album was gold.
The breakdown in “Victim” is tough and ever so authoritative. The band clearly tossed massive nods to metal bands of the 80s/90s without losing grip of their punk roots. You know the band had all the fun playing this one.
“Damage” ripped. Riffs, slapping bass, insane drumming, and Freeman bellowing into the microphone. There was a huge Hawkwind and Iron Maiden nod on this one. This track right here is proof that this band has a ton to offer.
“All Kings Must Die” pretty much was what would happen if Rancid and Mötorhead had a baby. There’s really no other way to put it, and it works just so well. Beyond entertaining to listen to as it covers metal, thrash, and punk rock without skipping a beat.
“Dragged Down” again pushed back to 70s/80s metal giants like Maiden and Metallica. The chorus on this one was perfect and evoked serious headbanging opportunities.
The EP might have flown by, but it was flawless and left me wanting far more. Here’s hoping for a full-length soon. Freeman, McGee, and Willer easily have proved their talent in this release will surpass the expectations of many. I foresee a lot of music lovers getting into this one. It’s topped my best of 2019 list easily and I have listened to the EP daily for a few weeks now and not grown tired at all of it.
Side note, if Charger was the music that Fraser, Buscemi, and Sander would have played in Airheads, it would have been the greatest movie of all time. I am not sure why I kept thinking of that movie while listening, but I couldn’t help but share. Plus if you recall, Lemmy was in that movie…
